Avalokitesvara in Theravada Temples, Bagan, Myanmar

Hninn Wut Yee Latt

This paper originates from research undertaken with Professor Elizabeth H. Moore and is presented in her honour. In Bagan art and architecture, the Bodhisattva plays a significant role, particularly the Mahayana Bodhisattva known as Avalokiteśvara. I will discuss iconographic and stylistic attributes of Avalokiteśvara images, by drawing on analysis of the symbolic attributes, mudras, gestures, colours and other stylistic characteristics. Iconography can provide insight into the understanding of how Mahayana elements were incorporated within Theravada Buddhist contexts. It highlights how historical artistic choices reflect not only the local painting traditions, but also deeper patterns of religious syncretism. Evidence indicates that Mahayana and Theravada had coexisted since the early Pyu period (4th century) until the post-Bagan era (14th century) (Khaing Myitzu Wai, 2019). Avalokiteśvara images therefore, demonstrate a complex connection between visual or material culture, and religious practices. This paper examines the mural paintings of Abeyadana Temple to explore the interaction between Mahayana and Theravada traditions in early Bagan (11th century). It also questions to what extent the iconography follows established Mahayana conventions, or reflects local reinterpretation within the Bagan artistic tradition.